Above are some of the most common Anaphorian
instruments;
Lake Aloe (vibraphone-like instrument), Mt. Meru (bass bars), and Fifth Mesa
(marimba)
Above are some of the most common Anaphorian
instruments;
Lake Aloe (vibraphone-like instrument), Mt. Meru (bass bars), and Fifth Mesa
(marimba)
This is only one of the many versions of Mt. Meru found in Anaphoria
in both tuning and layout. This particular instrument encompasses 9
tones
from the same Eikosany as Lake Aloe. Built and reconstructed with David
Mota.mp3. sample 2MB
Fifth Mesa, a marimba-like instrument made out of Padouk, spans 3
1/3 octaves, extending an octave lower than Lake Aloe. Built and
reconstructed
with David Mota.
This instrument known as the Crib of Brass was destroyed while in
Los
Angeles during the Northridge Earthquake. Its tuning of 36 tones to the
octave contained a full Combination Product Set using 1-3-5-7-9-11
(more
below under tuning)
The great influx of immigrants to Anaphoria since time immemorial
has brought many of the wide variety of scales now thought of as
Anaphorian.
In many cases the mother culture is apparent while in others the
origins
disappear into ancient prehistoric traditions almost impossible to
penetrate.
The problem is also complicated by the fact that these scales' proximity
to each other have produced a myriad of cross-interpretations,
influences
and even hybrids.
Anaphorian legend states that music was given to mankind by the
Earth
goddess Danae and Sky god Kukuk. It was in the famous cave of Celudore
where they would meet in embrace. In gratitude to their hosts, they
left
behind a stone carving over the opening of the cave. This tablet, the
Tablet
of Celudore (shown above), is one of the most ancient artifacts in
Anaphoria.
Archeologist have placed the dates of this tablet between 8,500 to
3,700
years old with a preference for earlier estimates. Composed of unknown
cryptic symbols, it took the Indian mathematician Deep Kama to realize
it as a representation of a figure known in her country as Mt. Meru
(known
also as Pascal Triangle, seen below, in the west). Kama conceded that
being
older than its counterpart in India opens up the possibility of the two
sharing a common origin.
As manifestations of sacred impulses, Anaphorian scales exhibit very specific constructs inspired by organic as well as geometric analogies. Numbers in Anaphoria are seen as "divine objects" found in the creative imagination that function as the intermediary between the spiritual and the material. In this inner "temple" these two worlds are seen to coexist and only in this temple do new scales come about. Observation has caused Anaphorians to believe that whereas a plant still preserves it first limbs and branches throughout its growth, scales preserve their more ancient forms yet develop into predictable but unexpected constructs. With the realization of scales into concrete instruments, this inner temple becomes an outer temple that encompasses whole groups of people in a shared experience.
In the 1980's, individuals in Anaphoria first became aware of
various
scales of the American/Mexican theorist Erv Wilson. For the next few
years
there existed a great controversy over the coincidence that his scales
and systems appeared to solve many of the dilemmas confronting
Anaphorian
theory that had developed into heated debate The outcome of this
controversy
was the rejection of his scales by "official" academic circles only to
find the masses of practicing musicians and ensembles widely
adopting
his scales. On the other hand many of these people were disappointed that
Wilson
did not (at least publicly) share there own spiritual conceptions. He
did
in fact exhibit respect for their inclinations.
